Fair to say, this album likely would not be getting reviewed here if the singer wasn’t Nicole Laurenne from garage rockers The Darts. My connection with Laurenne goes back many years when she was fronting the Love Me Nots whose third album ranks in my top 5 favourite records of all time. The Love Me Nots were also a garage rock band with mod influences and a flair for seductive sounding back-alley songs. While some of the early Darts songs rose from the ashes of the Love Me Nots, there are clear distinctions in the sounds of both bands. There have also been some side projects along the way, but Black Viiolet feels like it has equal standing with the Darts (who will be touring this year, releasing a split 7”, and a best of album called ‘Nightmare Queens. You might have read that here first). So what makes Black Viiolet different? Well, this has been described by Laurenne as torch-triphop, and I think that is a great description.
While the Darts crash down the doors where they play, this is insidious in how it penetrates your soul. The difference is clear in the first song ‘About a Woman’ where the keyboards and beat remind me of something that would perfectly soundtrack a film set in a dark club where the backdrop is dark, the carpet is shaggy, and the film itself is a little grainy. The camera pans in to find a band performing and then slowly goes around the rest of the room showing us a mix of people from glamour to gritty. Laurenne showcases a softer feel in her vocals. This opening song could have been sequenced into ‘Sexplosion!’ by My Life with the Thrill Kill Kult. Slinky bass introduces ‘Yin Yang’ where Laurenne sounds like she is commanding a burlesque show. I was a constant proponent of incorporating horns into some of the Love Me Nots songs, and they work perfectly here. They also have a prominent role in ‘Devil.’ The subtle keys in the mix are brilliant, and I love how the chorus has a surge of energy. I could see this song transformed into a garage rocker as well, but this just feels perfect. ‘Never Know’ has a nice groove and has been a grower on the album for me. My favourite part being near the end when the vocals rise in intensity level.
‘Don’t Leave Me (On the Dancefloor)’ doesn’t connect with me as much as other songs here. The introduction reminds me more of a 70’s era pop song with the main portion sounding more disco-flavored. The vocal work in the bridge provides a nice change even if this isn’t a song I rush to hear again and again. The album then serves up the piano-based ‘Not It’ which hits hard in its subtle musical touches. While the album in general provides Laurenne an opportunity to leave her vocals laid bare with no guitars or Farfisa to hide behind, this song showcases a wonderful emotion-filled voice front and centre. Side one comes to a close with the slinky ‘My Baby Just Cares for Me’ which caterwauls through the room with the horns and keys accentuating the song. The beat is hypnotic with the build-up to the close expertly done.
Flipping the album over, we start act two with the resilient ‘Not About You’ where Laurenne lays her soul bare over another cool rhythm and assures herself and anyone else listening that she is fine. The emotional dichotomy between how we end side one with love and jubilation and the ruins that open side two could not be more different. ‘New Day’ serves as the next morning where the past lays in ruins, but there is a new future laid out ahead. This is another great trip-hop song where the chorus pops out of the speakers with a renewed resolve. A song like ‘Outta My Mind’ is another great example where Laurenne really channels new directions from what she has previously done. The space in the verses to deliver the lyrics with the subtle transition to a chorus where the horns share space perfectly with the vocals. In fact, the horns might be my favourite touch in the song. ‘Stayin In’ feels like a throwback to an old romance movie from the 50’s or 60’s where we see a montage of the couple celebrating their newfound love.
As we begin the home stretch of the record, ‘When You Loved Me’ connects more through the verses than the chorus. This might be one where musically I could see it benefitting more from a garage rock overhaul in the chorus. With that said, I imagine this might be one of those songs that one day clicks for me. Horns and a trip-hop beat introduce ‘Drop’ where Laurenne again shows more flexibility in her vocal approach. This might be my current favourite from the album. I want to call out the great production work by all the producers involved as the album came together across multiple studios. ‘You Can’t Afford Me’ ends the album on another highlight and closes out the cinematic feel showcasing a performer as the burning epicentre of the club reminding everyone that she is always just out of reach.
For those that love the Darts and Love Me Nots, I anticipate you checking out this album already. If you want an album to get you pumped up in the morning, this would not be that album (cue Frankie and the Studs instead). When your day wraps though and you need to decompress, pour a glass of your favorite drink and drop the needle on this record. There have been Black Viiolet tours as well which I would also definitely recommend if you can go. With a back catalogue of awesome albums, ‘After You’ provides another one to be savoured in a whole other musical world.
Author: Gerald Stansbury
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